On rare occasions, this word can be found overlapped to the musical ideology of a composer. Throughout the history of music, some events have happened, arrogantly drawing the emotional silhouette of this desired concept; events that in the past, sealed not only the way of writing and composing, but also the way to structure the scene (art as representation) in which the Schubertians were developed. It is well known that in other times, some people, whose nature was imbued with the romantic spirit of Werther, were seduced (even to faint) for the emotional melodies that flowed from the fingers of the performers.
The seduction (a word from Ovidio) not only refers to a passionate state, as in Goethe’s work, it also alludes to music as a vehicle of that manifestation that inhabits the staves of a lot of musical works. That’s where it fits the music of Paolo Vivaldi (Exodus – il sogno di Ada; Il Permesso; Luisa Spagnoli, etc.) maybe the last seducer of the transalpine cinema. Paolo, a distinguished Roman with stylized profile, follows the trail left by artists as prominent as Rota, Piovani, Frisina, Werba, and especially, Morricone, the great seducer of Italian cinematography. To allude to this feature of the Vivaldi’s music in order to explain this emotional act that imbibe from Kierkegaard y Fromm , it’s required if we want to settle the connotations that give to the work of the Roman those attractive features that make him different. Beyond any inconsequential explanation, the work of Paolo, delicate and fine, it develops through melody as the first motor of its own idiosyncrasy. Therefore, talk about La seduzione in the work of Vivaldi, it’s a sine qua non condition to understand the depth that lays inside their harmonies …
Seduce through the verse is an art It is an art that the Cuban poet and activist Nicolás Guillén, standard bearer of the mestizo avant-garde, was able to express clearly in his poem Alma música:
Tengo el alma hecha ritmo y armonía;
todo en mi ser es música y es canto,
desde el réquiem tristísimo de llanto
hasta el trino triunfal de la alegría.
Verses connected to the music that Vivaldi composes for this Italian production, directed by Matteo Botugno y Daniele Coluccini in wich love, hope, the tragic and comic , they dialogue with each other, granting the verse of the poet all the protagonism of history. Music transforms the lives of the characters causing the spectator to be trapped in the spider web that the musician weaves through his silky calligraphy. Because; Todo en mi ser es música y es canto… words filled with passion and truth, singing to the rhythm that marks the melodies flowing from the pentagrams of this singer. Although the film shows the most visceral part of the protagonists (witho no justification or remorse) music makes its way through so much violence to draw the anguish that nests in despair and torment. Paolo build such a beautiful and sensed discourse about the moods that define the characters seeking their own identity among the chaos of the city. His afflicted music is the counterpoint to the many questions raised by the plot and that give meaning to the daily lives of individuals.
Beyond the verses of Guillen, Vivaldi’s music connects with the emotional part of the human being causing the words and ideas that others erect, to be seduced by the melody…
Y ya de nuevo en el astral camino
concretará sus ansias de armonía
en la cascada de una sinfonía,
o en la alegría musical de un trino.
Antonio Pardo Larrosa